1. Glyn Johns Drum Mic Technique<\/h3>\n\n- \n
\n- \n
\n- Well-Regarded:<\/strong> Legendary Recording Engineer and Producer Glyn Johns perfected this well-regarded drum mic placement technique for flawless capture.<\/li>\n
- Paired Up:<\/strong> Two AKG C414s<\/a> set to the Cardioid pattern.<\/li>\n
- \n
![\"Expert](\"https:\/\/hpro-web-assets.s3.amazonaws.com\/insights\/uploads\/2025\/07\/Untitled-19.jpg\")
<\/a>Legendary Recording Engineer and Producer Glyn Johns perfected this well-regarded drum mic placement technique for flawless capture. Watch it<\/a>.<\/p><\/div>\nSetting Up:<\/strong><\/p>\n\n- Take one C414 directly above the snare drum to capture the side of the drum kit with the tom as well as the hi-hat.<\/li>\n
- Then position your second C414 facing directly toward the snare and the hi-hat. It’s also going to pick up the floor tom and a bit of the cymbal crash.<\/li>\n<\/ul>\n<\/li>\n
- The Phase Relationship<\/strong><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
\n- \n
\n- \n
\n- \n
\n- Measure the distance to each of the microphones from the center of the snare drum to ensure phase relationship.<\/li>\n
- To do this, hold the cable in the center of the drum and position the other in the same spot.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
\n- \n
\n- \n
\n- See For Yourself:<\/strong> Check out the Glyn Johns Drum Mic Technique<\/a> for yourself.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
<\/h3>\n
<\/p>\n
2. Spaced Pair Technique<\/h3>\n\n- \n
\n- \n
\n- Why It Works:<\/strong> With one mic over each side of the kit, you\u2019ll capture a wide stereo image that presents two perspectives of the drums.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
\n- \n
\n- \n
\n- \n
![\"Oliver](\"https:\/\/hpro-web-assets.s3.amazonaws.com\/insights\/uploads\/2025\/07\/Untitled-20a.jpg\")
<\/a>Using the Spaced Mic method, with one mic over each side of the kit, you\u2019ll capture a wide stereo image that presents two perspectives of the drums. Watch it.<\/a><\/p><\/div>\nThe Right Mics:<\/strong> Two AKG C414<\/a>s set to the Cardioid pattern.<\/span><\/span><\/p><\/li>\n- Ideal Placement:<\/strong>\n
\n- Position one mic above the left side of the kit and the other above the right.<\/li>\n
- Measure each mic\u2019s distance to the center of the snare drum to ensure they\u2019re equidistant<\/li>\n
- A slight inward or outward shift can make a big difference in stereo balance.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
\n- \n
\n- \n
\n- Watch It:<\/strong> Watch Oliver demonstrate the Spaced Pair Technique<\/a>.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
<\/p>\n
Technique Comparisons:<\/strong><\/h3>\n\n- \n
\n- \n
\n- Glyn Johns: <\/strong>Narrow, centered image; emphasizes snare and tom detail; great for punchy rock and tight pop kits.<\/li>\n
- Spaced Pair:<\/strong> Wide, spacious image; emphasizes cymbals and room depth; ideal for ambient jazz and live\u2011feel tracking.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
<\/p>\n
<\/p>\n
Snare: Expert Drum Mic Placement Tips for\u00a0Punch Without Bleed<\/h2>\n\n- What Makes a Great Snare Mic?<\/strong>\n
\n- \n
![\"Expert](\"https:\/\/hpro-web-assets.s3.amazonaws.com\/insights\/uploads\/2025\/08\/Untitled-4.jpg\")
<\/a>“Place the hi-hat in the mic\u2019s null (at the rear) to minimize bleed from the cymbals.” Watch it<\/a>.<\/p><\/div>\nThe AKG C451B<\/a> is an excellent choice because of its legendary 1969 capsule design.<\/p><\/li>\n- It can handle up to 155 dB SPL and includes a high-pass filter to prevent low-end distortion.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
\n- Tips for Getting a Great Sound:<\/strong>\n
\n- Aim the mic at the center of the snare drum.<\/li>\n
- Angle it slightly toward the edge to pick up some shell resonance and attack.<\/li>\n
- Place the hi-hat in the mic\u2019s null (at the rear) to minimize bleed from the cymbals.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
\n- Check It Out:<\/strong> See Oliver mic\u00a0the snare drum.<\/a><\/li>\n<\/ul>\n
<\/p>\n
<\/p>\n
Kick: Finding the Sweet Spot<\/h2>\n\n- What Works Best:<\/strong>\n
\n- \n
![\"Oliver](\"https:\/\/hpro-web-assets.s3.amazonaws.com\/insights\/uploads\/2025\/08\/Untitled-3.jpg\")
<\/a>“The closer you get to the beater, the more attack you get from the drum.” Watch it<\/a>.<\/p><\/div>\nFor miking the kick drum, the AKG D112<\/a> is a true workhorse.<\/p><\/li>\n- It has high SPL capability with no additional EQ required.<\/li>\n
- It can handle more than 160 dB SPL without distortion.<\/li>\n
- It also has a large diaphragm that has very low resonance frequency, so it delivers a really powerful punch below 100 Hz.<\/li>\n
- It also includes an integrated hum-compensation coil that keeps noise to a minimum.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
\n- Getting Perfect Placement:<\/strong>\n
\n- The closer you get to the beater, the more attack you get from the drum.<\/li>\n
- So if you want something really attacking, you can go in tight.<\/li>\n
- If you want a full picture of the kick drum instead of just the attack of it, point the D112 at the beater and you’ll still get the attack but also have the low end develop in the kick drum.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
\n- Go to the Video:\u00a0<\/strong>Oliver discusses best strategies for miking the kick drum.<\/a><\/li>\n<\/ul>\n
<\/h2>\n
<\/p>\n
<\/p>\n
Room & Auxiliary Mics: Adding Depth and Definition<\/h2>\n
While overheads and close mics give you the kit\u2019s core, a well\u2011placed room mic can inject life, space, and three\u2011dimensional realism.<\/p>\n
Try a large\u2011diaphragm condenser (like the AKG C414 in Omni position) or a pair of small\u2011diaphragm condensers about 6\u201310\u202ffeet back, aimed directly at the center of the kit. Aim for 60\u201390\u00b0 apart, with each mic at ear\u2011height or slightly above, to capture natural stereo ambience.<\/p>\n
\n- Phase Tip:<\/strong> Once placed, do the cable\u2011at\u2011snare trick again for each room mic, then listen in mono: if the room track thins out, nudge it a few inches forward or back until it fattens up alongside the overheads.<\/li>\n
- Snare Bottom Mic: <\/strong>Flip a C451B under the snare, about 1\u20132\u202finches from the resonant head, aimed at the snares. Invert its polarity and blend it in to taste for extra snap and \u201cghost\u2011note\u201d detail.<\/li>\n
- Optional Subkick: <\/strong>For earth\u2011shaking low end, hang a subkick (or a small speaker\u2011based mic) just inside the kick\u2019s front head. Blend subtly under your D112 track to reinforce sub\u201130\u202fHz punch without mud.<\/li>\n<\/ul>\n
Adding these room and auxiliary mics will give you a fuller, more immersive drum sound\u2014perfect for recordings that need real\u2011world size and extra low\u2011end heft.<\/p>\n
<\/p>\n
Experiment and Refine<\/h2>\n
Every room and kit is unique\u2014these techniques are starting points. Tweak heights by a few inches, rotate patterns on your AKG C414 from cardioid to wide cardioid or omni, and don\u2019t be afraid to swap the order of your EQ and compression.<\/p>\n
By applying these expert drum mic placement tips, you\u2019ll consistently achieve mixes that sound polished, powerful, and professional. Now grab your mics and start tracking.<\/p>\n
<\/h2>\n
<\/p>\n
<\/h2>\nExplore Further<\/h2>\n
Dive into our support resources to get complete details, specifications, and more:<\/p>\n
\n- \n
\n- Drum & Other Mic Placement Videos<\/a><\/li>\n
- AKG C414XLS<\/a>, C414XLII<\/a>, C451B<\/a>, D112<\/a>, and other AKG Professional Microphones<\/a><\/li>\n
- More AKG Professional Microphone and Headphone articles<\/a><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
<\/h2>\n
<\/p>\n
Ready to Talk to a Solutions Expert?<\/h2>\n
We\u2019d love to discuss your projects and ideas. To locate a representative near you, please visit our <\/span>WORLDWIDE LOCATOR<\/a>.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"
- \n
- \n
- \n
- Well-Regarded:<\/strong> Legendary Recording Engineer and Producer Glyn Johns perfected this well-regarded drum mic placement technique for flawless capture.<\/li>\n
- Paired Up:<\/strong> Two AKG C414s<\/a> set to the Cardioid pattern.<\/li>\n
- \n
<\/a>Legendary Recording Engineer and Producer Glyn Johns perfected this well-regarded drum mic placement technique for flawless capture. Watch it<\/a>.<\/p><\/div>\n
Setting Up:<\/strong><\/p>\n
- \n
- Take one C414 directly above the snare drum to capture the side of the drum kit with the tom as well as the hi-hat.<\/li>\n
- Then position your second C414 facing directly toward the snare and the hi-hat. It’s also going to pick up the floor tom and a bit of the cymbal crash.<\/li>\n<\/ul>\n<\/li>\n
- The Phase Relationship<\/strong><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
- \n
- \n
- \n
- \n
- \n
- \n
- \n
- Measure the distance to each of the microphones from the center of the snare drum to ensure phase relationship.<\/li>\n
- To do this, hold the cable in the center of the drum and position the other in the same spot.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
- \n
- \n
- \n
- \n
- \n
- See For Yourself:<\/strong> Check out the Glyn Johns Drum Mic Technique<\/a> for yourself.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
<\/h3>\n
<\/p>\n
2. Spaced Pair Technique<\/h3>\n
- \n
- \n
- \n
- \n
- \n
- Why It Works:<\/strong> With one mic over each side of the kit, you\u2019ll capture a wide stereo image that presents two perspectives of the drums.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
- \n
- \n
- \n
- \n
- \n
- \n<\/a>
Using the Spaced Mic method, with one mic over each side of the kit, you\u2019ll capture a wide stereo image that presents two perspectives of the drums. Watch it.<\/a><\/p><\/div>\n
The Right Mics:<\/strong> Two AKG C414<\/a>s set to the Cardioid pattern.<\/span><\/span><\/p><\/li>\n
- Ideal Placement:<\/strong>\n
- \n
- Position one mic above the left side of the kit and the other above the right.<\/li>\n
- Measure each mic\u2019s distance to the center of the snare drum to ensure they\u2019re equidistant<\/li>\n
- A slight inward or outward shift can make a big difference in stereo balance.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
- \n
- \n
- \n
- \n
- \n
- Watch It:<\/strong> Watch Oliver demonstrate the Spaced Pair Technique<\/a>.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
<\/p>\n
Technique Comparisons:<\/strong><\/h3>\n
- \n
- \n
- \n
- \n
- \n
- Glyn Johns: <\/strong>Narrow, centered image; emphasizes snare and tom detail; great for punchy rock and tight pop kits.<\/li>\n
- Spaced Pair:<\/strong> Wide, spacious image; emphasizes cymbals and room depth; ideal for ambient jazz and live\u2011feel tracking.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
<\/p>\n
<\/p>\n
Snare: Expert Drum Mic Placement Tips for\u00a0Punch Without Bleed<\/h2>\n
- \n
- What Makes a Great Snare Mic?<\/strong>\n
- \n
- \n<\/a>
“Place the hi-hat in the mic\u2019s null (at the rear) to minimize bleed from the cymbals.” Watch it<\/a>.<\/p><\/div>\n
The AKG C451B<\/a> is an excellent choice because of its legendary 1969 capsule design.<\/p><\/li>\n
- It can handle up to 155 dB SPL and includes a high-pass filter to prevent low-end distortion.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
- \n
- Tips for Getting a Great Sound:<\/strong>\n
- \n
- Aim the mic at the center of the snare drum.<\/li>\n
- Angle it slightly toward the edge to pick up some shell resonance and attack.<\/li>\n
- Place the hi-hat in the mic\u2019s null (at the rear) to minimize bleed from the cymbals.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
- \n
- Check It Out:<\/strong> See Oliver mic\u00a0the snare drum.<\/a><\/li>\n<\/ul>\n
<\/p>\n
<\/p>\n
Kick: Finding the Sweet Spot<\/h2>\n
- \n
- What Works Best:<\/strong>\n
- \n
- \n<\/a>
“The closer you get to the beater, the more attack you get from the drum.” Watch it<\/a>.<\/p><\/div>\n
For miking the kick drum, the AKG D112<\/a> is a true workhorse.<\/p><\/li>\n
- It has high SPL capability with no additional EQ required.<\/li>\n
- It can handle more than 160 dB SPL without distortion.<\/li>\n
- It also has a large diaphragm that has very low resonance frequency, so it delivers a really powerful punch below 100 Hz.<\/li>\n
- It also includes an integrated hum-compensation coil that keeps noise to a minimum.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
- \n
- Getting Perfect Placement:<\/strong>\n
- \n
- The closer you get to the beater, the more attack you get from the drum.<\/li>\n
- So if you want something really attacking, you can go in tight.<\/li>\n
- If you want a full picture of the kick drum instead of just the attack of it, point the D112 at the beater and you’ll still get the attack but also have the low end develop in the kick drum.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
- \n
- Go to the Video:\u00a0<\/strong>Oliver discusses best strategies for miking the kick drum.<\/a><\/li>\n<\/ul>\n
<\/h2>\n
<\/p>\n
<\/p>\n
Room & Auxiliary Mics: Adding Depth and Definition<\/h2>\n
While overheads and close mics give you the kit\u2019s core, a well\u2011placed room mic can inject life, space, and three\u2011dimensional realism.<\/p>\n
Try a large\u2011diaphragm condenser (like the AKG C414 in Omni position) or a pair of small\u2011diaphragm condensers about 6\u201310\u202ffeet back, aimed directly at the center of the kit. Aim for 60\u201390\u00b0 apart, with each mic at ear\u2011height or slightly above, to capture natural stereo ambience.<\/p>\n
- \n
- Phase Tip:<\/strong> Once placed, do the cable\u2011at\u2011snare trick again for each room mic, then listen in mono: if the room track thins out, nudge it a few inches forward or back until it fattens up alongside the overheads.<\/li>\n
- Snare Bottom Mic: <\/strong>Flip a C451B under the snare, about 1\u20132\u202finches from the resonant head, aimed at the snares. Invert its polarity and blend it in to taste for extra snap and \u201cghost\u2011note\u201d detail.<\/li>\n
- Optional Subkick: <\/strong>For earth\u2011shaking low end, hang a subkick (or a small speaker\u2011based mic) just inside the kick\u2019s front head. Blend subtly under your D112 track to reinforce sub\u201130\u202fHz punch without mud.<\/li>\n<\/ul>\n
Adding these room and auxiliary mics will give you a fuller, more immersive drum sound\u2014perfect for recordings that need real\u2011world size and extra low\u2011end heft.<\/p>\n
<\/p>\n
Experiment and Refine<\/h2>\n
Every room and kit is unique\u2014these techniques are starting points. Tweak heights by a few inches, rotate patterns on your AKG C414 from cardioid to wide cardioid or omni, and don\u2019t be afraid to swap the order of your EQ and compression.<\/p>\n
By applying these expert drum mic placement tips, you\u2019ll consistently achieve mixes that sound polished, powerful, and professional. Now grab your mics and start tracking.<\/p>\n
<\/h2>\n
<\/p>\n
<\/h2>\n
Explore Further<\/h2>\n
Dive into our support resources to get complete details, specifications, and more:<\/p>\n
- \n
- \n
- \n
- Drum & Other Mic Placement Videos<\/a><\/li>\n
- AKG C414XLS<\/a>, C414XLII<\/a>, C451B<\/a>, D112<\/a>, and other AKG Professional Microphones<\/a><\/li>\n
- More AKG Professional Microphone and Headphone articles<\/a><\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
<\/h2>\n
<\/p>\n
Ready to Talk to a Solutions Expert?<\/h2>\n
We\u2019d love to discuss your projects and ideas. To locate a representative near you, please visit our <\/span>WORLDWIDE LOCATOR<\/a>.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"
- AKG C414XLS<\/a>, C414XLII<\/a>, C451B<\/a>, D112<\/a>, and other AKG Professional Microphones<\/a><\/li>\n
- Drum & Other Mic Placement Videos<\/a><\/li>\n
- Snare Bottom Mic: <\/strong>Flip a C451B under the snare, about 1\u20132\u202finches from the resonant head, aimed at the snares. Invert its polarity and blend it in to taste for extra snap and \u201cghost\u2011note\u201d detail.<\/li>\n
- Phase Tip:<\/strong> Once placed, do the cable\u2011at\u2011snare trick again for each room mic, then listen in mono: if the room track thins out, nudge it a few inches forward or back until it fattens up alongside the overheads.<\/li>\n
- Go to the Video:\u00a0<\/strong>Oliver discusses best strategies for miking the kick drum.<\/a><\/li>\n<\/ul>\n
- \n
- What Works Best:<\/strong>\n
- Check It Out:<\/strong> See Oliver mic\u00a0the snare drum.<\/a><\/li>\n<\/ul>\n
- It can handle up to 155 dB SPL and includes a high-pass filter to prevent low-end distortion.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
- \n
- Spaced Pair:<\/strong> Wide, spacious image; emphasizes cymbals and room depth; ideal for ambient jazz and live\u2011feel tracking.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
- Glyn Johns: <\/strong>Narrow, centered image; emphasizes snare and tom detail; great for punchy rock and tight pop kits.<\/li>\n
- \n
- \n
- Watch It:<\/strong> Watch Oliver demonstrate the Spaced Pair Technique<\/a>.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
- \n
- \n
- Ideal Placement:<\/strong>\n
- \n
- \n
- \n
- Why It Works:<\/strong> With one mic over each side of the kit, you\u2019ll capture a wide stereo image that presents two perspectives of the drums.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
- \n
- \n
- See For Yourself:<\/strong> Check out the Glyn Johns Drum Mic Technique<\/a> for yourself.<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n
- \n
- \n
- \n
- \n
- \n
- Paired Up:<\/strong> Two AKG C414s<\/a> set to the Cardioid pattern.<\/li>\n
- Well-Regarded:<\/strong> Legendary Recording Engineer and Producer Glyn Johns perfected this well-regarded drum mic placement technique for flawless capture.<\/li>\n